The Art of Joachim Wtewael

Home , Abraham Bloemaert, Joachim Wtewael, Karel van Mander

A Surprising and Diverse Life: Joachim Wtewael (1566 – 1638)

Liesbeth M. Helmus

At the turn of the seventeenth century, Joachim Wtewael was but never on copper, a support that Wtewael often used, largely at the height of his powers. He was blessed. His business endeav- because its smooth surface, which enabled him to render the tini- ors brought him prosperity; he was married, had two sons, and his est details with the finest of brushes, showed his extraordinary paintings were acquired by the leading collectors of his time. Mel- craftsmanship to best advantage. Paintings on copper constitute chior Wyntgis, for one, was the proud owner of a small, gleaming close to a third of Wtewael’s entire oeuvre, and virtually all date jewel on copper depicting Vulcan surprising Mars and Venus in from the first decade of the seventeenth century. flagrante delicto. This information comes from Karel van Mander’s Joachim Wtewael is considered the last of the great mannerists Schilder-boeck of 1604, which is the most important source on six- in the Northern Netherlands. Characterized by the portrayal of teenth- and seventeenth-century painters of the Netherlands.1 Van an idealized nature, mannerism developed in Italy in about 1525. Mander not only knew Wyntgis — an exceptionally influential fig- Realistic proportions in the rendering of human bodies were aban- ure in the art market who lived up to Van Mander’s ideal of a leg- doned in favor of exaggerations in body height, the length of limbs, endary Maecenas — but also dedicated Het Schilder-boeck to him.2 fingers, and the neck, while heads were rendered in a relatively The picture by Wtewael in Wyntgis’ possession may well have small scale. These figures, which assume twisted and forced poses, been the version now in the Mauritshuis and dated 1601 (cat. 16). populate mythological, often salaciously erotic scenes. The paint- In that same year Wtewael painted his self-portrait and the like- er’s palette became pastel, setting shades side by side as comple- ness of his wife Christina (cats. 1, 2). On the plaques behind them mentary areas of color: lemon yellow next to lilac next to pink and he inscribed ages — his, thirty-four, his wife’s, thirty-three — and pale blue. In the second half of the sixteenth century, mannerism the motto “Not Glory but Remembrance” Non( gloria sed memo- grew into an international movement. The most important centers ria), thus immortalizing himself and his wife. The Wtewael coat of this style in the Northern Netherlands were Haarlem (with of arms above the plaque is flanked by two satyrs, each with goat’s Hendrick Goltzius and Cornelis van Haarlem) and Utrecht (with hooves and a cornucopia between its legs. The cornucopia refers Wtewael and Bloemaert). The two leading European centers were to Wtewael’s prosperity, while the cheerfully mischievous wood- the school of Fontainebleau, to which Wtewael must have been land creatures allude to his whimsical artistic approach (fig. 1). exposed during his sojourn in France, and the court of Rudolf II Wyntgis’ picture of the Olympians cavorting is just one example in Prague. Wtewael’s mannerist style was primarily indebted to of his playful mind. Bartholomaeus Spranger, an artist in Rudolf’s court whose designs Joachim Wtewael, together with Abraham Bloemaert, domi- were engraved by Goltzius. nated the Utrecht art scene in the first decades of the seventeenth century. Unlike Wtewael, who was a Calvinist, Bloemaert, a Catholic, was an influential teacher who instilled the rudiments of Biography painting in the hundred pupils who passed through his workshop. Joachim Wtewael was born in Utrecht in 1566.4 According to Aside from producing a large painted oeuvre, Bloemaert was an Karel van Mander, Joachim’s first teacher was his father, the glass excellent draftsman who enjoyed venturing into nature to draw: painter Anthonis Jansz. When Wtewael was eighteen years old, he some 1,700 sheets by him have been preserved. Some of his draw- was apprenticed for two years to the Utrecht artist Joos de Beer. ings were engraved for a model book, De Teeken-konst, which was About 1586 Wtewael set off for Italy and came to Padua, where first published in about 1650 and was consulted by artists until he found employment with Charles de Bourgneuf de Cucé, the the nineteenth century.3 Bloemaert painted on panel and canvas, bishop of Saint-Malo (Brittany), with whom he traveled to France

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Fig. 1 Wtewael coat of arms (detail of cat. 1)

two years later. Wtewael probably returned home shortly before a series of bonds, debentures, multiple mortgages, and real estate. 1592. He joined the Saddlers’ Guild, an umbrella organization He was an orthodox Calvinist (a Counter-Remonstrant) and to which painters belonged; set up a workshop; and took on his played an active role in local politics. In 1610 he was a member first pupils.5 Walter Proeys is recorded in his workshop in 1591 of the town council, which was in power for three brief months or 1592; Henrik de Keyser, a relative of the eminent sculptor and before the council was ousted by other factions in a swift coup. architect of the same name, in 1613; Peter van Winsen in 1614; and In 1611 he was a founding member of the Utrecht Saint Luke’s Andries van Bochoven — by whom a modest oeuvre has been pre- Guild. In 1618, along with the painter Paulus Moreelse and his served — much later, in 1624 (cat. 43).6 Wtewael married Christina elder brother Johan, Wtewael took part in a coup that reinstated van Halen in 1595; their union produced two daughters, Antonetta the orthodox Calvinists to power in the town council. For their and Eva, and two sons, Peter and Johan. Wtewael may well have efforts, Stadholder Prince Maurits, who supported the Counter- taught the art of painting to Peter and possibly to Johan.7 The Remonstrants, rewarded Moreelse and Johan Wtewael with life couple also had three other children whose names are not known. memberships on the town council. However, because brothers The tomb in the Buurkerk was opened for them in December 1600, could not serve at the same time, Joachim was appointed only February 1602, and August 1605.8 Over the years Wtewael por- after his brother’s death in 1632. Essential to winning this appoint- trayed all four of his surviving children (cats. 4 – 7); he also made ment was his membership in the Dutch Reformed Church. He paintings of two of the children who died in birth. These works held various ecclesiastical and charitable positions between 1620 are listed in the inventories of his heirs.9 In 1596 Wtewael bought a and 1630. He was dispenser of the poor box, deacon, and church- large house on the east side of the Oudegracht (the present num- warden of the Jacobikerk, and regent and first warden of the Sint ber is 58), where he raised his children and most likely lived until Maartensgasthuis. He died on August 1, and was interred in the his death. family crypt in the Buurkerk. Wtewael was a successful man of some standing: He amassed great wealth from his flax business. He also bought shares of the United Dutch East India Company, founded in 1602, and owned

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Fig. 2 Joachim Wtewael, The Adora- tion of the Shepherds, c. 1598 – 1599, oil on canvas, Fine Arts Museums of San Francisco (Legion of Honor), 1999.130

The Workshop pendant; and Eva, their youngest sister, was immortalized in 1628 The biographical information on Joachim Wtewael comes from as well (cats. 6, 7). Joachim’s wife Christina died on April 13, 1629, Karel van Mander’s Het Schilder-boeck of 1604 and archival sources. and from that moment he seems to have lost interest in painting; Van Mander was the first to note that Wtewael was a flax dealer indeed no known paintings by him or by Peter are dated after as well as a painter. The biographer also expressed surprise that 1628. Joachim was a member of the town council from 1632, but Pictura was so well disposed to Wtewael since the artist put paint- attended only his first meeting. He stepped down in 1636, “impo- ing in second place.10 The painter and art theorist Joachim von tent ofte onbequaem” (infirm or unfit), in favor of his eldest son.13 Sandrart, who visited Wtewael several times in Utrecht in 1626, Throughout these years, Joachim must have retained his member- also wrote that he was largely occupied by the flax business,11 as ship in the Saint Luke’s Guild because in 1639, one year after his was his talented eldest son, Peter (cat. 5). About twenty-five paint- death, Johan paid the guild dues.14 Johan continued the workshop ings constitute Peter’s preserved oeuvre, the last one dated 1628, and maintained the right to produce and sell paintings through the year his father portrayed him.12 Johan was depicted in the the guild membership. It is not certain, however, that he, like his

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Fig. 3 Joachim Wtewael, The Adora- tion of the Shepherds, 1598 (cat. 11)

brother, was also a painter.15 According to guild regulations, a is more dramatic, as in the colors of some of the draperies. Such widow was entitled to membership in the guild.16 In this instance, differences are particularly apparent in the versions of theAnnun - the privilege seems to have passed to the son, probably Johan, as ciation to the Shepherds (cats. 24, 25). Recent technical analysis has the eldest was focusing his attention on the flax trade.17 demonstrated that the colors were originally identical. The old col- Joachim Wtewael’s workshop practice is not known, but he ors can be seen under the new ones, separated by a layer of varnish. must have had assistants help produce reproductions of some of The coloration of the two pictures, thus, was the same, but was his compositions. Certain pictures seem to have been extremely changed at some point, probably by Joachim himself, to brighter, popular. For instance, ten versions of the Adoration of the Shep- more pronounced tones: from pink to bright red, from peach to herds are known; of them, the San Francisco painting (fig. 2) is dark blue, from pale blue to pink.18 That Wtewael kept several closest to the prototype dated 1598 (fig. 3). The differences are of his paintings and was consequently able to work on them primarily related to tonal nuances, though occasionally the change anew, emerges from the inventories of his heirs. They mention

xxiii | helmus | a surprising and diverse life

Fig. 4 Utrecht?, draw-leaf table, c. 1620 – 1628, oak, bog oak, and ebony, and a lighter colored wood, Centraal Museum Utrecht, 8465

Fig. 5 Overmantel (with a reproduc- tion of cat. 34) in Aletta’s house on Janskerkhof

not only family portraits, but also, for instance, “Een geboorte format.21 In about 1600 he was touted by Karel van Mander as vanden ouden Wttewael” (A Nativity by the elder Wtewael) and a one of the greatest painters of his time. His pictures were eagerly “Corsnacht in groote personagie door Joachim Wtewael” (Nativity sought after, and steep prices were paid for them. His brilliant with large figures by Joachim Wtewael).19 Unfortunately, whether reputation, however, would soon be overshadowed and the period or not one of these two works is identical to the version dated 1598 in which he and his contemporaries forged their oeuvres would be (see fig. 3) can no longer be determined. The inventories also cite perceived as but a prelude to the Golden Age of Dutch painting.22 copies, autograph or not, of works by Joachim Wtewael.20 This exhibition reasserts Wtewael’s importance during an exceptionally intriguing period and reaffirms his place among the finest masters of Northern Netherlandish art. Legacy The family portraits are Wtewael’s most personal artistic state- ment (cats. 1 – 7) and remained in his possession until he died. His Self-Portrait and the pendant with Christina passed to Peter, the eldest son. His sister Antonetta, who was married to Johan Pater, received the likenesses of remaining family members. Peter, who never married, left the portraits of his parents to Antonetta’s daughter Aletta. Via her, the entire group of family portraits passed to the Martens family and ultimately to the Centraal Museum Utrecht, which also preserves two pieces of furniture from Joachim Wtewael’s estate: a large cabinet and a draw-leaf table (fig. 4) depicted in Eva’s portrait. They graced the house that Aletta built at 16 Janskerkhof, as did the Woman Selling Vegetables (cat. 34), which hung there as an overmantel (fig. 5) and later rounded out the inheritance to the museum. Joachim Wtewael was a brilliant colorist and raconteur, both poignant and witty, and equally masterful in large and small

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